The Italian Paintings: The Robert Lehman Collection, Vol.1
The Italian Paintings: The Robert Lehman Collection, Vol.1
Metropolitan Museum of Art/Princeton Un Pr | 1987 | ISBN: 0870994794/0691040451 | English | PDF | 349 pages | 49.8 Mb
Metropolitan Museum of Art/Princeton Un Pr | 1987 | ISBN: 0870994794/0691040451 | English | PDF | 349 pages | 49.8 Mb
The first volume of the comprehensive catalogue of the Robert Lehman Collection in The Metropolitan Museum of Art is justifiably devoted to Early Italian paintings, which were particularly close to Robert Lehman's heart. In 1975, the Metropolitan Museum opened the Lehman Wing to house this magnificent collection, which had been transferred to the Museum by the Robert Lehman Foundation.
It is especially appropriate that the distinguished art historian Sir John Pope-Hennessy is the author of this volume. An expert in the field of Italian paintings, he discusses in great detail the 112 works presented here; they are from many cities and regions of Italy—Siena, Florence, Rome, Naples, Venice, Umbria, Lombardy, Emilia, and the Marches, among others—and span six centuries.
The earliest painting in this volume is an Umbrian work, a panel that once formed part of a thirteenth-century altarpiece. Twenty paintings come from fourteenth-century Siena, among them Madonnas by the Master of Monte Oliveto, Simone Martini, and Ugolino da Siena. Thirteen Florentine paintings are from the same century. Bernardo Daddi and his workshop and followers are represented, as well as Jacopo di Cione, Spinello Aretino, and others.
From fifteenth-century Siena comes an incomparable group of twenty-seven paintings; eleven are by Giovanni di Paolo, including his famous Creation of the World and the Expulsion from Paradise, and seven are by Sano di Pietro. From Florence come works by Lorenzo Monaco, Bicci di Lorenzo, Cosimo Rosselli, and other artists. The Annunciation by Botticelli is one of the jewels of the Lehman Collection.
The Venetian paintings include two well-known portraits by Jacometto and a celebrated Madonna and Child by Giovanni Bellini. Forty-five works are reproduced in color, the rest in duotone; in addition, there are ninety-seven comparative illustrations.
Preface
Alvin W. Pearson
Foreword
Philippe de Montebello
Acknowledgments
List of Plates
Bibliographical Abbreviations
Catalogue
Siena, Fourteenth Century
Florence, Fourteenth Century
Umbria, Thirteenth Century
Romagna, Fourteenth Century
Naples, Fourteenth Century
Venice, Fourteenth Century
Siena, Fifteenth Century
Florence, Fifteenth Century
Umbria and Abruzzi, Fifteenth Century
Rome, Fifteenth Century
Emilia and Romagna, Fifteenth Century
Marches, Fifteenth Century
Venice, Fifteenth Century
Lombardy, Fifteenth Century
Venice, Eighteenth Century
Paintings of Recent Origin
Comparative Illustrations
Index
Photograph Credits
Alvin W. Pearson
Foreword
Philippe de Montebello
Acknowledgments
List of Plates
Bibliographical Abbreviations
Catalogue
Siena, Fourteenth Century
Florence, Fourteenth Century
Umbria, Thirteenth Century
Romagna, Fourteenth Century
Naples, Fourteenth Century
Venice, Fourteenth Century
Siena, Fifteenth Century
Florence, Fifteenth Century
Umbria and Abruzzi, Fifteenth Century
Rome, Fifteenth Century
Emilia and Romagna, Fifteenth Century
Marches, Fifteenth Century
Venice, Fifteenth Century
Lombardy, Fifteenth Century
Venice, Eighteenth Century
Paintings of Recent Origin
Comparative Illustrations
Index
Photograph Credits
Sir John Pope-Hennessy served as Consultative Chairman of the Department of European Paintings at the Metropolitan Museum from 1977 to 1986. Educated at Oxford, he was for seven years director of the Victoria and Albert Museum and for three director of the British Museum. His books include Giovanni di Paolo, Sassetta, Fra Angelico, Luca della Robbia, a three-volume Introduction to Italian Sculpture, and Benvenuto Cellini.
Review
"Luxuriously presented, it is leisurely without being discursive . . . It contains much new information, as well as marshalling all of the old, and has an enviably clear way with difficult arguments. . . . Furthermore, it is excellent ion minute technical data, and endeavours to describe exactly what is in each picture, including the colours, which is both more necessary and more difficult than the innocent might suppose."
"Luxuriously presented, it is leisurely without being discursive . . . It contains much new information, as well as marshalling all of the old, and has an enviably clear way with difficult arguments. . . . Furthermore, it is excellent ion minute technical data, and endeavours to describe exactly what is in each picture, including the colours, which is both more necessary and more difficult than the innocent might suppose."
The Italian Paintings: The Robert Lehman Collection, Vol.1
